Par BACKSTREET BOYS / WALLACE TOM (Arr.). A heavy beat and strong bass line set the mood for this time-honored hit by the Backstreet Boys. Combined with Tom's clever treatment of the melodies, this is likely to become one of your band's favorites charts to play. / Date parution : 2023-03-11/ Répertoire / Marching Band

Par DEL BORGO ELLIOT. Interesting counterpoint brings the minor key 'Ballad of John Riley' to your band with style. Allowing for some good melodic playing from the tenor instruments (Trombone, F Horn, Tenor Saxophone) and later including the Bass Instruments in the melody, each section is important in this treatment of the somber folk tune. Great vehicle for studying phrasing and controlled performance at this level! / Niveau : 2 / Musique pour célébration / Répertoire / Concert Band

Swing it William!. Par BLANKEN JOHN. The King's Swing basiert auf der niederländischen Nationalhymne Wilhelmus. John Blanken präsentiert diese aber zur Abwechslung in einem völlig neuen Gewand als Swingnummer. Blankens Werk enthält eine Reihe verschiedener Elemente: die rhythmisch angepasste Melodie, einen Walking Bass, eine Gegenstimme und eine rhythmische Begleitung. Eine witzige Idee, gekonnt umgesetzt in ein Blasorchesterstück, das überzeugen wird! / Niveau : 4 / Musique légère originale / Répertoire / Fanfare

Par EVERS HARM. Pleasant Hill takes its inspiration from pleasant relaxing moments snatched on top of a sunny hill. It takes the form of a traditional march with the composer leading us over the hill with a bass solo and a melodious trio. The march comes to a close leaving everybody reeling with a fascinating sense of majesty. / Niveau : 2 / Répertoire / Concert Band ou Harmonie ou Fanfare

Arr. Roland Kernen. Par KAEMPFERT BERT. Bert Kaempfert est considéré comme un grand maître de la variété internationale. Il a écrit des chansons pour des stars mondiales telles qu’Ella Fitzgerald, Peggy Lee, Shirley Bassey, Anita Kerr et Frank Sinatra. Le son mythique de sa formation a fait le tour du monde. Ses affinités avec la musique noire et sa fascination pour les sonorités sud-africaines ont influencé plusieurs de ses compositions et arrangements. Roland Kernen a rassemblé cinq mélodies célèbres dans ce medley unique : Zambesi, African Beat, Wimoweh, Happy Trumpeter et Skokiaan. / Niveau : 3 / Pop and rock / Recueil / Fanfare

Par SPARKE PHILIP. March Celebration réunit deux célèbres marches du Luxembourg et du sud de la Belgique, combinées à un thème original signé Philip Sparke. Après l’exposition du thème original suivi d’une ligne mélodique jouée par les basses, on perçoit des fragments de la Hämmelsmarsch (Marche des moutons). Cet air populaire fait partie intégrante de toutes les fêtes de village du sud de la Belgique et du Luxembourg. Puis vient l’exaltante Marche du Régiment des Chasseurs ardennais, devenue une sorte d’hymne pour toute la région. L’oeuvre se conclut sur la reprise brillante du thème original. / Niveau : 3 / Marche de concert / Répertoire / Concert Band ou Harmonie

Polka. Par LORIS NICK. Schön, bei euch zu sein ist in wenigen Worten treffend zusammengefasst das Gefühl, das Ernst Hutter & Die Egerländer Musikanten bei Ihren Konzerten auf der Bühne empfinden, wenn das Publikum mit den Musikern gemeinsam ein tolles Konzert erlebt. Die 'musikalische Sprache' der Polka ist von einem sehr tänzerischen ersten Teil über ein virtuoses Bassregister, einer weit ausladenden Tenorhornmelodie - begleitet von flotten Klarinetten - bist zum Trio-Gesangsteil im typischen Egerländer-Stil gehalten. Mit einem furiosen Schluss findet die sehr frisch gestaltete Komposition ein fröhliches Ende, das sagt: 'Schön bei euch zu sein. ' / Musique populaire / Recueil / Concert Band ou Harmonie

Arr. Ernst Hutter_Engelbert Wörndle. Par BRUGGER MARTIN. Der 1809er Marsch entstand durch die Liebe des Komponisten zur Tiroler Blasmusik, die er schon als Dreijähriger bei Konzertbesuchen in seinem Heimatort mit dem Großvater kennen gelernt hatte. Zu Ehren des Tiroler Freiheitskämpfers Andreas Hofer wurde der Marsch „1809er“ getauft und soll an die Tiroler Befreiungskriege von 1809 erinnern. Nun wurde dieser Marsch von Ernst Hutter fuür die Produktion „Volksmusikstars singen Blasmusikhits” neu arrangiert. So entstand eine unwiderstehliche Kombination aus Tiroler Melodien und dem Egerländer Stil. Einem sehr schmissigen ersten Thema folgt ein stark virtuoses Basssolo, das abwechselnd mit warmen Tenorhorn- undFluügelhornklängen das wunderbar einfache Trio vorbereitet. Die eingängige Triomelodie kann instrumental sowie auch mit Gesang unterstuützt interpretiert werden. / Musique populaire / Recueil / Concert Band ou Harmonie

Frodsham Silver Band Centenary March. Par SPARKE PHILIP. Sandstone Centennial wurde von der Frodsham Silver Band aus dem Nordwesten Englands in Auftrag gegeben, zur Hundertjahrfeier dieses Blasorchesters im Jahre 2007. Dieser Marsch wurde im traditionellen englischen Stil geschrieben, mit dem uüblichen Basssolo und einem kantablen Trio, und kann wahlweise mit oder ohne ein Da Capo gespielt werden. Ein perfekter Auftakt fuür Ihr Konzert! / Niveau : 4 / Marche de concert / Répertoire / Concert Band ou Harmonie

Marsch. Par BUMMERL FRANZ. Mit einem flotten Marsch, zu dem ein wunderbarer Text von G. Gstettner im Trio gesungen werden kann, hat Franz Bummerl allen Egerländer-Freunden eine dankbare Komposition geschrieben. Viva bella musica ist rhythmisch typisch böhmisch und mit einem virtuosen Basssolo ein Volltreffer in jedem Programm. Im Konzertprogramm der Ohne Grenzen-Tournee 2008/2009 ist dieser Marsch, obwohl neu komponiert, ein großer Erfolg von Ernst Hutter & Die Egerländer Musikanten - Das Original. / Musique populaire / Date parution : 1905-07-01/ Recueil / Concert Band ou Harmonie

Lied vom Waldmägdelein. Par LEHAR FRANZ. En 1905, Franz Lehár (1870-1948) compose La Veuve joyeuse d’après la comédie française L’Attaché d’ambassade d’Henri Meilhac. La création est un succès et l’opérette triomphe rapidement sur les scènes du monde entier. La musique de Lehár illustre bien l’esprit de gaieté et de frivolité caractéristique du début du siècle viennois. Vilja Lied (Acte II) est une des plus belles pages de l’opérette viennoise. Sensuelle, suave et émouvante, cette mélodie séduit encore par sa richesse émotionnelle. / Niveau : 2.5 / Opéra-opérette / Répertoire / Fanfare

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Par BULLA STEPHEN. CANZONE ANTICA translates as “ancient song”. The dark mystery of the Middle Ages, from plainsong and cowled robes to shrouded medieval architecture, permeates a misty atmosphere as your band roams the catacombs in this powerful composition. Steeped in ancient history and opening with a short basso ostinato, this is a unique and significant work. Stephen Bulla masterfully weaves a tapestry of mystic percussion sounds, enigmatic harmonies that are sometimes open and sometimes dense, in a style which evokes ancient choral traditions. If your quest is a truly distinctive work for your next concert or contest, your crusade is at an end! / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Par SPARKE PHILIP. Suite from Hymn of the Highlands draws three expressive musical pictures of the Scottish highlands. The first movement, Ardross Castle, features solo passages for clarinet and bassoon and features a fascinating bagpipe melody. The second movement, Alladale, is a saxophone trio with an accompaniment featuring the percussion section. The final movement, Dundonnell, features two highly contrasting melodies, a wild presto and the bagpipe melody first heard in the first movement. / Niveau : 5 / Pièce de concert / Répertoire / Fanfare